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Approx.542 pages
The Psychology of Music: A Very Short Introduction seeks to answer fundamental questions of enduring interest, such as "What is musicality?" and "How does music move us?" In doing so, it reveals what happens when science attempts to confront some of the deepest questions about music.
In Psychology of Music: From Sound to Significance (2nd edition), the authors consider music on a broad scale, from its beginning as an acoustical signal to its different manifestations across cultures. In their second edition, the authors apply the same richness of depth and scope that was a hallmark of the first edition of this text. In addition, having laid out the topography of the field in the original book, the second edition puts greater emphasis on linking academic learning to real-world contexts, and on including compelling topics that appeal to students’ natural curiosity. Chapters have been updated with approximately 500 new citations to reflect advances in the field. The organization of the book remains the same as the first edition, while chapters have been updated and often expanded with new topics. 'Part I: Foundations' explores the acoustics of sound, the auditory system, and responses to music in the brain. 'Part II: The Perception and Cognition of Music' focuses on how we process pitch, melody, meter, rhythm, and musical structure. 'Part III: Development, Learning, and Performance' describes how musical capacities and skills unfold, beginning before birth and extending to the advanced and expert musician. And finally, 'Part IV: The Meaning and Significance of Music' explores social, emotional, philosophical and cultural dimensions of music and meaning. This book will be invaluable to undergraduates and postgraduate students in psychology and music, and will appeal to anyone who is interested in the vital and expanding field of psychology of music.
The Psychology of Music serves as an introduction to an interdisciplinary field in psychology, which focuses on the interpretation of music through mental function. This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music. In particular, the book provides an overview of the perception of musical tones by discussing different sound characteristics, like loudness, pitch and timbre, together with interaction between these attributes. It also discusses the effect of computer resources on the psychological study of music through computational modeling. In this way, models of pitch perception, grouping and voice separation, and harmonic analysis were developed. The book further discusses musical development in social and emotional contexts, and it presents ways that music training can enhance the singing ability of an individual. The book can be used as a reference source for perceptual and cognitive psychologists, neuroscientists, and musicians. It can also serve as a textbook for advanced courses in the psychological study of music. - Encompasses the way the brain perceives, remembers, creates, and performs music - Contributions from the top international researchers in perception and cognition of music - Designed for use as a textbook for advanced courses in psychology of music
Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? What are the factors that produce such vastly different performance experiences? Why have consummate artists like Frederic Chopin, Sergei Rachmaninoff, Pablo Cassals, Tatiana Troyanos, and Barbra Streisand experienced such intense music performance anxiety? This is a disorder that can affect musicians across a range of genres and of all standards. Some of the 'cures' musicians resort to can be harmful to their health and detrimental to their playing. This is the first rigorous exposition of music performance anxiety. In this groundbreaking work, Dianna Kenny draws on a range of disciplines including psychology, philosophy, phenomenology, psychoanalysis, and performance theory in order to explain the many facets of music performance anxiety that have emerged in the empirical and clinical literature. She identifies some unifying guiding principles that will enhance our understanding of the condition and guide researchers and clinicians in the development of effective treatments. The book provides a detailed conceptual framework for the study of music performance anxiety and a review of the empirical and clinical research on the anxiety disorders. In addition it presents a thorough analysis of the concepts related to music performance anxiety, its epidemiology, and theories and therapies that may be useful in understanding and treating the condition. The voices of musicians are clearly heard throughout the book and in the final two chapters, we hear directly from musicians about how they experience it and what they do to manage it. This book will lay a firm foundation for theorizing music performance anxiety and be of enormous value interest to those in the fields of music and music education, clinical psychology, and performance studies.
Part I. Musical Learning. Introduction to Music Psychology ; Development ; Motivation ; Practice -- Part II. Musical Skills. Learning and Remembering Musical Works ; Expressing and Interpreting ; Composing and Improvising ; Managing Performance Anxiety -- Part III. Musical Roles. The Performer ; The Teacher ; The Listener ; The User.
Keller was among the earliest Freudians in Britain. For his case studies he drew on composers, performers and listeners, and for his general studies he turned to various aspects of music.
The second edition of The Oxford Handbook of Music Psychology updates the original landmark text and provides a comprehensive review of the latest developments in this fast-growing area of research. Covering both experimental and theoretical perspectives, each of the 11 sections is edited by an internationally recognised authority in the area. The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy. In each part authors critically review the literature, highlight current issues and explore possibilities for the future. The final part examines how, in recent years, the study of music psychology has broadened to include a range of other disciplines. It considers the way that research has developed in relation to technological advances, and points the direction for further development in the field. With contributions from internationally recognised experts across 55 chapters, it is an essential resource for students and researchers in psychology and musicology.
This book deals with the complex cognitive processes involved in understanding two "horizontal" aspects of music perception, melody and rhythm, both separately and together. Focusing on the tonal framework for pitch material in melodies, the first section provides evidence that mere exposure to music organized in a particular way is sufficient to induce the auditory system to prepare itself to receive further input conforming to the patterns already experienced. Its chapters also offer evidence concerning elaborations of those basic schemes that come about through specialized training in music. Continuing themes from the first section -- such as the hypothesis that melodies must be treated as integral wholes and not mere collections of elements -- the second section discusses the integration of melody and rhythm. In these chapters there is an underlying concern for clarifying the relation -- central to aesthetic questions -- between physical patterns of sound energy in the world and our psychological experience of them. The chapters in the third section provide excellent examples of the new, scientific literature that attempts to objectively study early musical abilities. Their data establish that infants and young children are far more perceptive and skilled appreciators of music than was thought a decade ago.